Contributor Matt Hertendy checks in mid-way through LAWNYA VAWNYA 13 in St. John’s, NL.
DAY 1:
4:30 am
The CBSA decided they wanted to inspect every piece of my photography gear by hand. I am thankful for two things at this moment: A) that it is not busy, so I am not holding up many fellow travellers, and B) that I arrived at the airport super early in my excitement to be invited to Lawnya Vawnya 13!
I do watch them with a hawk, though, as my lenses are swabbed for who knows what, one by one. I haven’t even had a coffee yet. You know what they say “Don’t go through my camera bag before I’ve had my coffee!”
Half an hour later, the authorities give me the all-clear, and I can board in time on my flight from Hogtown to Fogtown.
11:00 pm
We touchdown in St. John’s and are greeted by festival staff and volunteers. We are shuttled to our respective accommodations along with writer Desmond Cole, whose flight I was also on.
I am lucky to stay with an incredibly kind and chill billet and her shy but sweet cat. I plopped my things down in my room, sent some emails and DMs to organize an artist portrait series and then went for a long ocean-side walk. The air is a fresh and welcome change from Ontario’s forest fire smog. Despite the heavy fog, I think to myself that it must be hard to feel down in this town when all the houses look as happy as these:
5:00 pm
I meet up with Toronto band Mother Tongues after their soundcheck for the first session of the artist portrait series that will be published after the festival. Despite being thrust into the headlining spot after Akquakulture’s unfortunate last-minute cancellation, the band seems super loose, joking about how suddenly becoming the headlining act is all in a day’s work for the young band. Singer/bassist Char runs the table in a game of pool. Pool Shark? More like Pool Chark.
After this, I go to another session with St. John’s kids Greta & The Goldfish. They’re over the moon to be playing Lawnya Vawnya this year and have big ambitions for their upcoming year and the quest for recognition off the rock. Keep an eye on them.
7:00 pm
I eat a quick poutine at an empty The Ship Pub and overhear some St. John’s bar scene drama. A problematic patron stole a neighbouring bar’s A-Frame sign. The tight-knit community twist? The thief is Facebook friends with the bar owner.
I make it in time to Bannerman Brewery to hear Desmond Cole read the June chapter of his 2016 book, The Skin We’re In. A relevant excerpt talks about the demands by Black Lives Matter Toronto that were overshadowed by criticism of their request for police not to participate in Toronto Pride activities. These forgotten demands primarily aimed to increase funding for Black, Indigenous, South Asian Queer and Trans artists, communities and youth.
It is a timely conversation as corporations roll out their rainbow logos and as Toronto Pride considers funding cuts to their cultural programming due to soaring police costs, that the essence of “Pride” has strayed far from the protest mindset of the Stonewall riots, all the while attacks towards the existence of drag queens, trans, queer, and Black and Indigenous people are ever prevalent. Desmond mentions his excitement at an Abolitionist and Antifacist Pride organized by the No Pride in Policing Coalition.
8:30 pm
It’s off to The Rock House for the first night of music. Kicking off the night is “YYT’s beloved Genderfreak” Madame Daddy, who whips us into party mode with a “pussy poppin’” performance. Madame Daddy wraps up their opening slot with an impassioned plea to turn up at a counter-protest to drown out a group of transphobes on Friday. Lawnya Vawynas should be commended for the programming choice to have concerts opened and hosted by drag performers, and I hope attendees rally behind them.
9:00 pm
First up is the scrappy St. John’s kiddos, Greta & the Goldfish. Don’t let their loveably awkward demeanour fool you—they can rip. They let their Pavement-esque riffs fly and change tempos on a dime. Fleet-fingered bassist Christian Spencer probably touched every fret on his bass multiple times across their lively set, as Greta Warner packs as many lyrics as possible into each song. These kids are more than alright, and it is great to see the community turn out for them.
9:30 pm
This was the surprise of the night. Called in on less than a day’s notice, Newfoundland trio Xia-3 sprang into action. This fusion act comprises guzheng virtuoso Dr. Jing Xia and local punk rockers Ritchie Perez and Brian Downton. This group needs to be seen to be believed. Their combination of finger-plucked guzheng riffs, heavy western guitar, and drum rhythms brought the house down.
10:30 pm
Closing out the night were Mother Tongues, the psychedelic shoegazers from Toronto, who have a new album dropping in July. They genuinely have command over their huge sound, building the most serene or sludgy soundscapes and guiding us through everything in between. Mother Tongues set was never predictable and always satisfying as they wound through their cyber-psych dreamscape.
DAY 2:
5:00 pm
After spending most of my day at the exquisite Bannerman Brewery having blue beer made with algae, I am off to meet up with St. John’s synth-punk outfit So Violento before a festival mixer. Little did I know, I would spend the rest of my evening, right up until their set, with them, from a photo session in St. John’s filthiest alleyway to a cool cocktail bar. I particularly bonded with the band over their chaotic new music video with an exquisite eye-catching blend of punk DIY spirit and artificial intelligence. It is very, very cool, and you should give it a watch.
I hear whispers at the mixer that one of tonight’s acts is delayed and may not make it to the show. Contingency plans are being made, but festival staff keep their cool and friendly wits about them.
9:00 pm
So Violento takes the stage. Frontperson Nadia Duman is an unrelenting force on stage, unafraid to get right up in anyone’s face. The band is thunderous and incredibly tight. They tear through their set with intensity. By the end, all but one band member had shed their Matrix-core leather trench coats—relief from the heat which they brought.
9:45 pm
Cecile Believe was supposed to finish up the night, but she is up second tonight due to HRT’s flight delay. Starting the set with one of the loudest air horn sample manipulations I have ever heard, we know that by the end of the set, we will be dancing. Beyond the candy-coated vocal effects, you can hear that Cecile has an incredible voice. Cecile’s dream-pop dance tunes wash over a devoted crowd. Cecile’s people came to play, and the energy was infectious.
10:30 pm
It would be criminal not to give massive kudos to local drag queen Barbra Bardot who kept the energy up in the building. I imagine it is no easy task to be asked to vamp for time so that a band can get in from the airport. Nevertheless, Barbra prevailed, keeping everyone entertained with impeccable crowd work and an on-point routine to a medley of Cher tunes. In a night full of heroes, Barbra was one.
11:00 pm
Against all odds, HRT arrives and does an on-the-spot soundcheck consisting of two synth notes and one scream. And just like that, they’re off. HRT’s vocalist hurled herself immediately into the crowd and rarely took a break from thrashing around amongst the people.
HRT’s music sounds like a release of pent-up feelings when listened to on any day, but experienced live, knowing they endured a six-hour delay, and came straight from the plane to the stage to put on such a full-throttle performance is truly a testament to their craft.
11:45
After the set, I get myself a classic Fogtown street slice. Burnt my whole mouth.
Halfway through Lawnya Vawnya, and I am fully a fan. Everyone I have spoken to talks of the festival with so much love, and it is easy to see why.
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